​Richard Linklater’s latest feature follows the story of Vietnam veterans Sal Nealon (Bryan Cranston), Larry “Doc” Shepherd (Steve Carell) and Richard Mueller (Laurence Fishburne) reuniting under tragic circumstances. Doc enlists the help of his friends to take it upon themselves to bury his son, a young Marine killed in Iraq. That’s all you need to know going into Last Flag Flying because it really is something special. Heartwarming, true to life and absolutely hilarious above all else. The premise of this movie is anything but funny, yet somehow Linklater manages to deliver a superb comedy-drama that never loses momentum and stays engaging all the way through to the last frame.

All of the three leads are incredible but Bryan Cranston shines here. His performance as the nihilistic Sal rivals that of his work in Breaking Bad and easily ranks high among his film roles. He gets a chance to sink his teeth into the soul of this disillusioned vet who is just over the bullshit he has seen in his life. Sal has a refreshing level of honesty and an utter lack of filter. He will hook you in from the opening scene in the bar. Some of his best one liners materialize when he squares off against Mueller who is his mirror image. They both have strong philosophies and get at each other’s throats trying to make sense of the other’s way of life. Doc is the emotional anchor is this trio as his tragedy is the driving force and the reason these old friends embark on this bittersweet trip. I almost see these characters as three variations of the same man. Sal is the bitter extremist, Mueller is the peaceful sage and Doc lands somewhere in between.

Backstory is handled well in the film. There are no forced, unnecessary flashbacks to past memories. Instead, the audience has to rely to on the strength of this cast to get the impression that Sal, Doc and Mueller have had shared experiences off camera. These men reminisce about Vietnam and it is clear that that war has changed all of them in profound ways. They come to terms with the fact that the more things change, the more they stay the same. The next generation of soldiers will soon feel the same level of disenfranchisement that they do. My favorite moment comes when the three vets are laughing about an inappropriate memory and for the first time, we see the heartbroken Doc crack a smile and join in. At that instance, you can tell these people used to be close brothers in the good old days who have sadly grown out of touch and forged their separate paths.

My only gripe with the movie is that it sort of lacks a plot. There is a story being told here but it is extremely character driven instead of a series of events being triggered in order for things to happen. This is really a road trip movie so the majority of scenes are in cars, trucks and trains as the men unpack their issues. If anything, it’s just strange. The actual story seems to just be an excuse to get these individuals talking to one another and reliving their glory days. That’s fine by me when the emotional journey is this good. At a runtime just over two hours, you can’t really go wrong with this one. The movie respects your time and trusts that the characters will keep you laughing and occasionally make you reflect on the unpredictability of life.

I cannot recommend Last Flag Flying enough. It will probably be in limited release but if you don’t catch it in theaters, check it out when it hits VOD. It is a gem of a movie that I hope finds its way to more people because it is surprising and touching.

​Tennis is one of the few sports which hasn’t been done justice on the big screen. Battle of the Sexes is one of the better attempts in recent years though it is far from great. The film recounts the 1973 tennis match between Billie Jean King (Emma Stone) and Bobby Riggs (Steve Carell) that garnered significant media coverage at the time and became a watershed moment in the sport’s history. King struggled with keeping her sexuality private while fighting to make strides in the fight for equal pay.

This movie has some hilarious sequences and Steve Carell’s portrayal of Riggs is a big reason why. He nails the outrageous tendencies of the man and, frankly, steals the movie away from Emma Stone. Her performance as Billy Jean is fine but she is not nearly as sympathetic or relatable as Riggs. You’re clearly meant to feel for her as she deals with her own personal problems but the way she treats her husband, Larry, gets in the way of that. I was on board with her goal to change the pay gap but I found her unlikeable. Meanwhile, Riggs is clearly the chauvinistic alpha male who has a lot of insecurities but his sense of humour and general demeanor around his loved ones break through. They are both flawed characters who have their shining moments which is great though I couldn’t help but think that Billy Jean should have been more compelling a character. Maybe it is more true to life and of the real woman but it made me question rooting for her.

There are also several moments that took me out of the film. There is an instance where Billy Jean is getting a haircut and the camera focuses on her face for about two minutes. There is no reason for a mundane scene to play out for that long except to show you that she is infatuated with the hairdresser. It makes sense because the latter becomes a central character from that point on but it could have been handled better. Subtlety is in short supply here as everything is spelled out for you in painful detail. Certain scenes would be more interesting if they weren’t executed so heavy handedly. That being said, the film gets better with time and the second half has enough payoff that satisfies. The soundtrack is pretty good, and there is a memorable car ride with Elton John’s Rocket Man blasting in the background. On a technical level, the movie is firing on all cylinders. It’s just that there are pacing issues and some scenes drag on a little.

The film doesn’t overstay its welcome in the third act which is genuinely tense and well paced. The sets of tennis are well directed and you really get a sense that the actors are the ones playing instead of painfully obvious stunt doubles. I would recommend Battle of the Sexes with the caveat that I wish it was less on the nose because it’s a good movie but one that is held back from being great.

​I have to say that I wasn’t really expecting much from this movie but I left the theater pleasantly surprised. Gifted is a perfectly decent movie with engaging characters that overpower the familiar story. Mckenna Grace stands out from the sea of performances like this and is another rising child star who you will undoubtedly see on the big screen for years to come. It’s an adequate family film that plays with your emotions in a way that might come off as overly manipulative to some viewers but still resonates nevertheless.

The plot follows intellectually gifted 7-year-old Mary (Mckenna Grace) who demonstrates extraordinary mathematical talent on her first day of school. This propels her into a ferocious custody battle between her uncle Frank (Chris Evans) and grandmother Evelyn (Lindsay Duncan). Frank is adamant that Mary be enrolled in regular public school while her grandmother believes that Mary is a "one-in-a-billion" mathematical prodigy who should be specially tutored in preparation for a life devoted to mathematics. It emerges that Mary's mother had been a promising mathematician, dedicated to the Navier–Stokes problem before committing suicide when Mary was six months old. Mary has to deal with the swarm of adults deciding her future for her and the new details surrounding her mother’s death while desperately trying to cling on to some sense of normalcy.

The charming cast is what makes Gifted worth seeing above all else. It’s not Chris Evan’s best role by any stretch of the imagination but like Snowpiercer, it shows what else he is capable of outside of being Captain America. Octavia Spencer, who plays a relatively small part, has the funniest lines and adds much needed levity in the midst of the growing drama. However, I really wish the narrative took some left turns because generic storytelling only works up to a point and it’s what holds this movie back from being a great picture. That being said, I found myself captivated by certain scenarios that pull at the heartstrings in a big way.

There is also a blatant amount of exposition in this movie that makes it hard to sit through at times. The several court scenes have the most impassioned exchanges but suffer from too much information delivered in bite sized sequences. At a runtime just under two hours the movie doesn’t overstay its welcome but certain excerpts could have easily been edited out without much consequence to the overall story. Still, most dialogue driven scenes are well paced and will hold your attention. The final confrontation between Frank and Evelyn is powerful and will likely leave a lasting impact on the audience.

Gifted is a well-executed independent movie with compelling emotional drama that only intensifies as the film goes on, culminating in a touching yet predictable resolution. It’s an interesting next step in director Marc Webb’s career, who has worked on everything from romantic comedies ((500) Days of Summer) to giant blockbusters (The Amazing Spider Man). Despite the safe story, the memorable moments are enough to make this something worth your time.

​A remake of the 1979 film of the same name, Going in Style sees three legendary actors working together on an unconventional heist movie. While ultimately a letdown, there are enough bright spots to make it a passable viewing experience. When the company they worked for is bought out, retirees Willie (Morgan Freeman), Joe (Michael Caine) and Albert (Alan Arkin) see their pensions become a casualty of the restructuring. Inspired by a bank robbery Joe witnesses, the trio decide to take back what is rightfully theirs and cripple the bank holding the company’s pension funds.

If you can get behind the movie’s oddball premise, there’s a good chance you’ll have some fun here. It plays with the tropes of the genre but never fully goes all the way with its execution. It’s no Hell or High Water which oddly enough touches on some of the same themes in this film but the cast draws some big laughs. Alan Arkin has the best one liners as the curmudgeon who is dragged into this caper against his best wishes. The movie also has one of the funniest chase scenes, (bit of a stretch to call it that) I’ve seen in a long time along with a hilarious police lineup made up of senior citizens. That’s about it though. This comedy is thinly written and feels uninspired despite the overall quirky idea. We’re introduced to a bunch of characters outside of our main crew who are transparent plot devices instead of compelling personalities.

The actual story is just about as predictable as you would expect with no interesting curveballs thrown along the way. However, I will say that there’s something that reminds me of the Ocean's movies in that the characters navigate this new world with a certain flair. Their technique just lacks finesse as it becomes abundantly clear that these numbskulls are rolling the dice on this plan no matter what. Frankly, they haven’t got much to lose since being thrown in prison seems a better way to spend the last few years of their short-lived existence than their current situation. These elderly thieves aren’t hardened criminals but rather desperate men making a last-ditch effort to put the scraps of their lives back together.

Going in Style is not a movie you need to rush out and see opening weekend in theaters. Check it out if you’ve got a couple of hours to kill on a random afternoon. Better yet, you can rent it in a few months on VOD. It’s a perfectly disposable movie that’ll give you a couple of laughs as you watch three veteran actors bumble around on screen for an hour and a half.

Arrival is a movie that requires your undivided attention. I’ll be honest in saying that I didn’t fully understand certain ideas and plot points. It is a story about determinism and the need to communicate with those around us. The film is a slow-burn building to a powerful revelation that leaves a somber but ultimately hopeful message. When twelve mysterious spacecraft descend upon various locations across the globe, world leaders race to find answers as nations teeter on the verge of global war. Linguistics professor Louise Banks (Amy Adams) is enlisted by the military to communicate with the extraterrestrial visitors. What she experiences on this journey will change her life forever.

I’ll keep this short. Go see this movie but keep your expectations in check. Do not go into this anticipating a typical run-of-the-mill alien invasion story. Arrival is more reminiscent of Contact and Interstellar than anything else and strives to leave you with thought-provoking questions. It unfolds like a mystery thriller that happens to be set in the backdrop of a science fiction drama. The supporting cast include the likes of Forest Whitaker and Jeremy Renner but they feel a little shortchanged. They serve as expository characters who are needed to hit specific beats. Amy Adams is front and center here and does not disappoint. She plays Banks with great sincerity and is easy to sympathize with because of the extraordinary circumstances taking place. Banks’ memories of her daughter give us some insight into her past and is often drawn upon as she learns to cope with the present.

The alien life forms, nicknamed the Heptapods, possess two distinct variants of communication. One is a spoken language while the other revolves around complex singular symbols. Comprehending the manner in which these two languages work in tandem and relate meaning is central to the mystery and nothing short of enthralling. Banks takes a holistic approach to breaking down the communication process by using simplistic visual cues to relay complicated ideas to the Heptapods. Ironically this bewildering communication dilemma proves to be the lesser of two evils. Escalating tensions reach a tipping point as violence begins to break out. Humans devolve as uncertainty takes hold. Are these beings here to wreak havoc? What is their intention? The answers to these questions are delivered in profound and unexpected ways. The film is well paced but picks up in momentum with an infinitely more interesting second half. The potential of the story hinges on Banks’ discoveries and what they mean for mankind. The film’s opening voiceover takes on an entirely different interpretation by the end and the final scene is quite heartbreaking. I felt like there were creative liberties taken in order to cross the finish line but it’s a minor gripe in an otherwise memorable third act. The score is hauntingly beautiful and the cinematography helps land the the narrative’s emotional punches.

Denis Villeneuve’s latest feature film is worth the watch as it explores high concept ideas revolving around human connection. A few plot inconsistencies emerge but they are forgivable in a film that will lead to much discussion and debate. If you are a fan of unique sci-fi works, this is right up your alley.

​Help me get one more. This was the fundamental essence of a remarkable individual who went on to win the Congressional Medal of Honor for his bravery in WWII. Hacksaw Ridge is a celebration of one man’s unbreakable spirit and a powerful reminder of what it means to be human. The film recounts the real life experiences of U.S. army medic, Desmond T. Doss (Andrew Garfield) who refused to bear arms on the battlefield. Labelled as a conscientious objector, Doss faced ostracism for his pacifist beliefs but proved his worth after saving more than 75 men in the Battle of Okinawa without firing a single bullet.

If there was ever a “true story” that needed to be seen by audiences, look no further than this incredible picture. Director Mel Gibson has achieved nothing short of cinematic wonder helming this moving war film. Like Braveheart, this movie’s legacy will undoubtedly stand the test of time. There are some great renditions from the supporting cast which includes Vince Vaughn, Luke Bracey, Teresa Palmer and Hugo Weaving but even their combined efforts can’t match Andrew Garfield who turns in the performance of his career. He bares his soul as Doss and brings interesting nuance to this unique character. Doss has deeply held religious beliefs that stem from a troubling incident during his childhood. This microcosm of a moment is crucial as it explores the darkness he has learnt to suppress. The undying love that Doss has for comrades and enemies alike is incomparable to anything you’ve ever seen before. His philosophy is one that we don’t have to necessarily agree with but appeals to the basic tenets of compassion. Doss is vulnerable and idealistic to a fault but follows through on his convictions and that is all we should ever ask of anyone.

The movie is impressively well paced with some genuine light hearted sequences that transpire in the first third of the running time. Doss’ blossoming relationship with his girlfriend Dorothy springs to mind. Her presence is felt throughout because of an important item gifted to Doss that only strengthens the overarching themes of the film. Vince Vaughn’s introductory scene as Sergeant Howell is an absolute riot as he relentlessly tears down the mental fortitude of his soldiers. It is this incredibly difficult balancing act that makes the movie work. Not many movies manage to explore every glimpse into the human experience. There is always a well-deserved reprieve following the merciless violence. But make no mistake; there is nothing that will prepare you for the unsparing bloodshed when it comes. The jaw-dropping action stands on equal footing with legends like Saving Private Ryan. The cinematography is particularly impactful as the low angle shots of the war-tom combat zone are ripe with the decaying and disease-ridden remains of the fallen. The battle sequences are expertly choreographed and somehow depicts the overwhelming nature of war while ensuring you are never unable to follow what’s going on. Words don’t do justice to some of the beautiful imagery on display here. No shot lacks clear intent as the movie is stunning from beginning to end. It is actually the final shot, one of peaceful suspension in the air that stuck with me, especially when contrasted against the first brutal frame of the film.

As audiences, we’ve been conditioned to view the triumphant cheers of the crowd as the validation of an enjoyable movie. There are several instances of that transpiring during the screening I attended but it was the long stretches of silence that spoke volumes. When the gentle stirring score picks up in the midst of an impassioned exchange of dialogue or a wordless sequence of ferocity, you can’t help but sit in silent awe. I don’t know how movies like this are made but I’m eternally grateful that they are. With all of the moving parts, you’d think something would come undone. It is miraculous that everything from the work of the makeup artists to the fearlessness of the stuntmen pay off and deliver one hell of an emotionally satisfying ride.

Hacksaw Ridge is Mel Gibson’s directorial return to the big screen after a decade and sets the bar even higher than Braveheart already did. I urge you to see this picture for the chance to have a truly meaningful movie going experience. It is the one of the best war films in recent years that is both heart-rending and uplifting and earns the right to be a contender for Best Picture.

​Some of my favorite movies are adapted from critically acclaimed novels. No Country for Old Men immediately springs to mind as the themes of greed and free will are unmistakably depicted on the big screen. Unfortunately, The Girl on the Train is one that doesn’t do the same. It feels overly melodramatic and doesn’t really have much to say. Rachel Watson (Emily Blunt) is a troubled commuter who spends most days fantasizing about the relationship of a mysterious couple, Scott and Megan, from the window of her train. That all changes when she catches a glimpse of something disturbing. Rachel fears the worst when Megan is reported to have gone missing and the authorities seem to be poking heads in the wrong places. Unable to trust her own recollection of events, Rachel takes matters into her own hands while the police suspect the divorced alcoholic may have already crossed a dangerous line.

Emily Blunt’s performance is really the only reason I would recommend The Girl on the Train. While I found Rachel to be logically inconsistent, there are genuine moments of brilliance brought to her through this interpretation. Rachel is quite unlikeable yet garners sympathy because she doesn’t know any better. The divorce with her ex-husband makes her question her self worth and sends her down a dark path of alcoholism. The story shifts around multiple characters and her perspective is noticeably the most skewed. The idea of an unreliable narrator always makes for an engaging mystery yet it doesn’t fully come together in an emotionally satisfying way. The reveal of the events that actually transpired during the “tunnel sequence” is going to make or break this movie for you. I felt the scene had a good payoff but was shot awkwardly and was longer than it needed to be.

The film also suffers from issues with the pacing. The Girl on the Train has a runtime just under two hours but seems to drag on for an eternity. It takes too much time to get to the adrenaline heavy third act and loses a lot of steam along the way. The audience’s reactions to some of the heinous things that happen in that last half hour make for a fun movie-going experience as all hell breaks loose. I was also pleasantly surprised by the amount of humor in this grim tale. The majority of the jokes come from Rachel’s drinking problem which might seem like an easy target but are actually the biggest laughs of the movie. My favorite moment came from her interaction with a stranger who made an observation that really summed up her erratic behavior in one cleverly delivered exchange.

This movie disappointed me because it came off as an amalgamation of several different films. If anything, it is trying so hard to be Gone Girl. The performances are fine though Emily Blunt easily stands head and shoulders above the rest. Her portrayal of this manic character is captivating and is the movie’s driving force. It’s a shame there isn’t anything particularly compelling about the storytelling. The movie has twists and turns but you’ll see them coming from a mile away.

​Luke Scott’s directorial debut is a movie that is behind the times. The ramifications of creating artificial intelligence is something audiences have seen on the big screen since the ‘70s. Last year’s Ex Machina is a remarkable film that adds to the conversation instead of retreading familiar ground. Unfortunately, Morgan’s generic plot disappoints despite some very promising moments and is ultimately a letdown. Corporate troubleshooter, Lee Weathers (Kate Mara) is called in to a remote facility to assess a project kept under wraps. A group of scientists have constructed a synthetic being known as Morgan (Anya Taylor-Joy) who is capable of tremendous feats. The bioengineered child’s cognitive abilities are beyond its creators’ wildest expectations and prove to be unpredictable. After an “incident”, Lee must determine whether or not to terminate Morgan before she can inflict harm to the outside world.

This movie could do with a bit more subtlety. It makes a point of hammering home the idea that the scientists are blinded by their love of Morgan. Video diaries and flashback sequences are supposedly used to help us sympathize with their particular worldview. The problem is that the reality of the situation says otherwise. The brutality of the opening scene formed my lasting impression of Morgan. I found it hard not to regard the scientists as anything but complete idiots. They were like dumbed-down characters in a slasher movie. I understood their motivations but I couldn’t comprehend how technically competent experts could lack basic emotional intelligence. They seemed incapable of holding Morgan accountable for her actions. On a more positive note, I thought Morgan and Lee were relatable characters who complemented each other nicely. Their sense of urgency propels the action that takes place in the third act. Anya Taylor-Joy’s portrayal of Morgan is admirable because she manages to be both terrifying and vulnerable when the moment calls for it. I was also pleasantly surprised by the intriguing layers beneath Lee that rise to the surface as the movie progresses.

Nature vs nurture is Morgan’s central theme and is at the heart of my favorite scene. Paul Giamatti has a small albeit important role in the movie as a psychiatrist who has a one-on-one with Morgan. His purpose is to fuel the film’s debate on this subject and he pulls it off magnificently. There is a question he poses to one of the scientists right before conducting the interview that is quite insightful. He relentlessly goads Morgan which leads to disastrous results. The intensity of this scene doesn’t come from the anticipation of predicting what will happen but rather when it will happen. What follows is the aforementioned moronic behavior of the scientists. Furthermore, I was put off by certain liberties taken by the story. A lot of events seemed to transpire for the sake of convenience and felt contrived instead of earned.

If you do plan on seeing the movie, you might want to tune out right here.

I’m very conflicted about the big twist/reveal at the end. I applaud the filmmakers for doing something that has the potential of surprising audiences but the execution could have been handled better. However, it did negate some of my problems with the story’s shortcuts. Personally, I did not see it coming though I spoke to others who telegraphed it from a mile away. In hindsight, I was shocked that I didn’t have the slightest inclination. I am curious as to whether the initial idea for this movie came out of this reveal as opposed to it being something that naturally developed from writing the script. In a way, Morgan’s entire meaning is turned on its head when you really think about it. Most people feel that a bad ending can ruin a great movie. I felt that the movie’s intriguing reveal redeems the somewhat mediocre storytelling. One small instance should not make up for a lackluster movie but I felt satisfied in the moment.*Spoilers end here*

Morgan is inherently flawed and gets more wrong than it does right. There are some fine performances but equally infuriating characters. If you are willingly to sit through a couple of empty-headed scenes, there might be a big surprise waiting for you at the end that could make the experience worthwhile.

​It’s no secret that there has been a drought of good movies this summer. I was hoping for a great one to slip through the cracks and it finally happened. Hell or High Water is easily one of the best releases this year and deserves to be seen by more people. Ex-convict, Tanner (Ben Foster) reconnects with his brother Toby (Chris Pine) who is struggling to provide for his son. The duo plan a series of robberies to save their West Texas family ranch from impending foreclosure. All that stands in their way is Marcus (Jeff Bridges), a lawman who’s a few weeks away from retirement. The string of successful heists culminates in a showdown with the Texas Ranger who is prepared to bring these criminals down before riding off into the sunset.

The film’s story is deceivingly simple but delivers an emotional punch. Taylor Sheridan -who penned last year’s Sicario- does not disappoint with this follow-up. His characters are deeply layered and act out unexpectedly. The narrative is a memorable one that is compelling all the way to the end and then some. It’s powerful finale will stick with you long after the credits. Much of the movie’s success can be attributed to the writing and several standout performances. The sharp dialogue is riveting and the three leads are nothing short of extraordinary. The frayed relationship between Toby and Tanner is the film’s driving force while Marcus is our moral compass. It is a testament to the pacing that transitions flow smoothly and never kill the momentum. The particular choice of music adds to the rising tension. The movie’s score is fitting as it underscores the brutality that transpires.

My only gripe with the movie is that some of the interchange is on the nose. It’s this lack of subtlety that instantly foretold the fate of certain characters in my eyes. It’s a minor complaint but one that lessens the poignancy of the film’s more salient moments. Despite this, there are still plenty of twists and turns that take the story to interesting places. I was also pleasantly surprised by the amount of genuine humor in this formidable tale. These comedic moments act as a nice reprieve and give the story some room to breathe in the midst of the violence.

Hell or High Water is definitely worth your time so catch it while it’s still in theaters. I like to think of it as a story of economic misfortune masquerading as a heist film. The actors commit themselves to these characters who are desperately clinging on to their way of life. With a runtime under two hours, the movie never seems to fly by as it builds to its explosive but moving resolution.

After watching Free State of Jones, I have a sinking feeling that the “McConaissance” is in decline. Matthew McConaughey has turned in some incredible work over the last couple of years with The Lincoln Lawyer, Mud, Killer Joe, Dallas Buyers Club and True Detective. His latest performance is by no means bad but rather just unmemorable. I will chalk this up to the film in general which doesn’t work on so many levels. There are jarring tonal shifts and time jumps that don’t make the already convoluted plot any easier to follow along.

In 1863, Mississippi farmer-turned-medic Newton Knight (Matthew McConaughey) leaves the Confederate Army after watching his nephew die in battle. Branded an outlaw deserter, Newt returns home to Jones County only to find his friends and family suffering for his actions. He forms an alliance with a group of local farmers and runaway slaves who are tired of fighting a rich man’s war. Together they lead a rebellion that will forever change the course of American history.

After the unbearable slog that is the first twenty minutes, the film starts to get interesting. Newt has a humanitarian interest in unifying his brothers in arms to take back what is rightfully theirs. He demonstrates his compassion for all men as he attempts to bridge the gap between slaves and farmers who are at odds with one another. This is the film’s strength, as it explores the subject of slavery in a manner that is emotionally draining. There are countless scenes that just make you feel like a helpless observer forced to watch these atrocities unfold. The intensity of these moments ramps up as time progresses making for quite the uncomfortable, albeit stimulating cinema experience. Unfortunately, these poignant instances don’t make up for the film’s flaws. I’m not a fan of movies that have multiple endings and sadly Free State of Jonesfalls into that camp. It’s third act drags on forever without saying anything that hasn’t already been said. It just hammers home the same point until the credits which is quite wearing.

If you’re interested in the monumental importance of this historical event, Free State of Jones is worth a watch. Despite my negative impression, the movie will make you reflect on this country’s storied past and worry about the cyclical racial injustice that goes on to this very day. This is not a feel good movie so if you want a great popcorn flick, you will be better off sticking with Independence Day: Resurgence which is bound to be an enjoyable summer blockbuster.